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William S. Burroughs in ‘Energy and How to Get It’


 
Robert Frank and Rudy Wurlitzer collaborated on a few movies in the 70s and 80s. Frank, of course, is the photographer behind the book The Americans, the Beat movie Pull My Daisy and the notorious Stones-commissioned, Stones-banned Cocksucker Blues; Wurlitzer is the novelist and screenwriter who wrote the scripts for Two-Lane Blacktop, Pat Garrett and Billy the Kid, and Alex Cox’s Walker.

(Incidentally, Wurlitzer and Cox allege that Jim Jarmusch’s Dead Man is a ripoff of Zebulon, an unproduced screenplay Wurlitzer wrote for Sam Peckinpah in the 70s. Several years ago, Wurlitzer refashioned Zebulon as the novel The Drop Edge of Yonder.)
 

 
Among Frank and Wurlitzer’s collaborations is the 1981 pseudo-documentary short Energy and How to Get It, about real-life Tesla admirer Robert Golka’s experiments with fusion. It includes an entertaining turn by William S. Burroughs as the sinister Energy Czar, whose interests are threatened by Golka’s experiments and who knows how the world is really run:

Prayin’ is for the moron majority. They’re handy, they’re useful, but we don’t go in for that sort of rubbish. No, I mean, if we had to start prayin’, we’d be prayin’ to ourselves. ‘Cause we’re the source. If you want anything, you have to come to us.

 

Frames from Energy and How to Get It
 
Earlier this year, about fourteen minutes of the 28-minute short surfaced on YouTube. I’m not sure whether this is just the movie’s first half or if it’s the edited version that was released on Giorno Poetry Systems’ home video It’s Clean, It Just Looks Dirty. In any case, to see the 28-minute cut, you’ll have to track down the out-of-print German DVD Robert Frank: The Complete Film Works Volume 4. Good luck with that. In the meantime, behold this tantalizing glimpse of a future that never was.
 

Posted by Oliver Hall
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11.20.2015
09:44 am
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Rudy Wurlitzer: Two-Lane Blacktop And Beyond

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In reference to Rudy Wurlitzer‘s ‘69 debut, Nog, none other than Thomas Pynchon said: “The novel of bullshit is dead.””  A not bad start for Wurlitzer, the sole member of the piano-making clan who never saw a dime (or not many) from his family name.

Tracing the often-psychedelic wanderlust of its title character who was either insane or drug-addicted (or both), Nog brought Wurlitzer a certain degree of fame as a novelist, but he’s perhaps best known, and celebrated, for his screenwriting.  His collaboration with Sam Peckinpah yielded the Bob Dylan-scored Pat Garrett and Billy the Kid.  Two years before that, though, he and Monte Hellman pulled off one of my all-time cinematic favorites, Two-Lane Blacktop.

Starring James Taylor and Dennis Wilson (both looking shockingly boyish) as eternally drifting drivers, Two-Lane featured sparse dialogue and even sparser performances.  Visually, though, it’s pure poetry, and, to me, a still-vital piece of American existentialism—especially in its final moment.  The trailer for Two-Lane follows below.

And just up at Chuck Palahniuk‘s website, an excellent, yet typically elusive, interview with Wurlitzer where he discusses everything from Dylan to Pynchon.  Regarding his new-ish novel, The Drop Edge of Yonder, Wurlitzer also addresses, politely, “l’affaire de Jim Jarmusch.”  Apparently, the director “pillaged” from Wurlitzer the raw material he’d later shape into Dead Man.  You can read the interview here.

 
See also in Arthur Magazine: ON THE DRIFT: Rudy Wurlitzer and the Road to Nowhere

Posted by Bradley Novicoff
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09.03.2009
03:30 pm
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